Barenboim Sonatas - Part II

The two sonatas of Op. 14 were completed after Beethoven's No. 8 “Pathétique” and were published together in 1799. The first of these sonatas, No. 9 in E Major, was later arranged by the composer for string quartet. Despite its relative popularity, this became the only such arrangement that Beethoven would write. This performance is taken from Daniel Barenboim's highly esteemed complete rendition of Beethoven's 32 piano sonatas, recorded at the Schloss Hetzendorf, Vienna, Austria, in 1983.

The second of Beethoven's Op. 14 piano sonatas dedicated to the Baroness Josefa von Braun. The sonata No. 10 in G major is characterised by a significant degree of wit and expression, with rhythmic ambiguity and unexpected harmonic shifts employed throughout. The final “Scherzo” movement is in fact in rondo form, with the primary theme undergoing a wide variety of changes before finishing in what would be the very lowest register of the piano during the classical era. This performance is taken from Daniel Barenboim's highly esteemed complete rendition of Beethoven's 32 piano sonatas, recorded at the Palais Rasumofsky, Vienna, Austria, in 1983.

Scholar Charles Rosen has described the Sonata No. 11 in B-flat major, Op. 22 (composed in 1800) as Beethoven's 'farewell to the eighteenth century'. It was, for the composer, the culmination of the stylistic idioms of the classical era, as well as the pinnacle of his early four-movement 'grand' piano sonatas. This performance is taken from Daniel Barenboim's highly esteemed complete rendition of Beethoven's 32 piano sonatas, recorded at the Palais Rasumofsky, Vienna, Austria, in 1983.

Beethoven's Sonata No. 12 in A flat major marks a significant departure from traditional stylistics idioms. Published in Vienna in 1802, only the last movement, a Rondo allegro, takes a conventional form - a funeral march “for an unknown hero,” which was played at the composer's own funeral. This performance is taken from Daniel Barenboim's highly esteemed complete rendition of Beethoven's 32 piano sonatas, recorded at the Palais Rasumofsky, Vienna, Austria, in 1983.

The stylistic departure that began with Beethoven's piano sonata No. 12 continued with the following two sonatas of Op. 27, which the composer completed in 1801 and published with the description “quasi una fantasia.” With Sonata No. 13 in E flat major, Beethoven again chose to implement unconventional forms, beginning with the opening movement: an Andante–Allegro–Andante structure that suggests a suite, particularly in the middle 6/8 section. This performance is taken from Daniel Barenboim's highly esteemed complete rendition of Beethoven's 32 piano sonatas, recorded at the Palais Rasumofsky, Vienna, Austria, in 1983.

The second of Beethoven's Op. 27 piano sonatas, No. 14 in C sharp minor, has long been revered within the classical canon. Dubbed the “Moonlight Sonata” after Beethoven's death by the poet Ludwig Rellstab, whose verses were set by Schubert, No. 14 is one of the composer's most popular pieces for piano. The tranquil opening movement is contrasted by a boisterous, energetic finale. This performance is taken from Daniel Barenboim's highly esteemed complete rendition of Beethoven's 32 piano sonatas, recorded at the Palais Kinsky, Vienna, Austria, in 1983.

The Sonata No. 15 in D major, Op. 28 dating from 1801, the same year as the two previous works, was given the title “Pastorale” by Hamburg publisher August Cranz. The bucolic quality is observable especially in the dance rhythms of the final movement, reminiscent of the sonata genre's precursor: the dance suite. This performance is taken from Daniel Barenboim's highly esteemed complete rendition of Beethoven's 32 piano sonatas, recorded at the Schloss Hetzendorf, Vienna, Austria, in 1983.